I start with myself, the universe of my body, and all that reaches between the cells of my brain the cells of my skin, the neural networks synapsing chemical transmissions proprioceptor to receiver, triggering connections between memory banks, tastes of sensations, perceptions, consciousness, a knowing and being. An embodied experience of the space I fill and the spaces through which I move.

Technology is often described as utilitarian, like an object, which has a particular function. However I think it’s more like DNA, its already part of our subcellular structure. We are processing each other in constant exchanges; we are in affect of each other in a fluid osmotic architecture navigating new pathways. Images, and thoughts, sounds and movement co-exist and become dispersed over smaller and larger grids.our perceptions begin to reconfigure and we begin to consider these as larger choreographies, as evolutions of corporeality interconnectivity that move beyond the fixivity of stages of the 20th century.

Located within multiple architecturally projected environments - liquid walls, the speaking, moving, and the images, shifts between perspectives on past, present and future work. In a non-linear poetic, the voice traverses a range of mindsets, and localities, making metaphoric connections between, journals of daily life, complex philosophical and scientific thinking, from astronomy, neuroscience, intelligence, consciousness, and concepts of home, land, gravity, security systems, and the spectrum of networked states of perception.

This Liquid paper presents an artist’s ideas interwoven with complex philosophical and scientific thinking in a manner which allows the art, and the qualities of the performance itself, to speak with as strong a voice as the words that are spoken. It integrates a multiplicity of systems of communications, including live and recorded sound/real- time video feeds/pre-recorded and archival video footage to consider new concepts of bodies, technology and choreographic form. It is a fluid form, allowing new writing, movement and media systems to enter the work in response to the environment and context of presentation.

There are 100 trillion stars in our universe
There are 100 trillion IP address on the Internet
100 trillion neurons in my brain
There are a hundred trillion cells in the universe of my body,
But only 10 trillion of these cells are human,

Each living cell is an intelligent system.
Each cell is a sub molecular machine
A transcribers of genes
Codes of intelligence

Their antenna listens for signals
In each one of my 10 trillion cells there is 1.8 metres of DNA

If you could find my source code
Get behind my firewall. You might be able to crack me open.
Unwind me. My body would be 108 trillion metres long

I’ll give you a clue.
The key to my code is in my Skin, is in my Blood, and is in my Brain.

I can seek you out. I can draw you in.
My body is a bridge… it spans time.

New Work in Development *The Darker Edge of Night* - 2005 – 07 Technology and Time within a blinking of the eye, begins from an imagined point of view beyond the horizon of mid 21st century integrating many media, including a poetic synthesis of cosmological data visualizations, and interpretation of audio visual media engaged with via a real time haptic motion capture network system outcomes of the research between CIS' collaboration with The Centre for Astrophysics and Supercomputing & Sensory Nueroscience Laboratory, Swinburne University, Melbourne, Australia, supported through Arts Innovation Program - *The Darker Edge of Night* begins where *The Light Room* diminishes.

*Making Light of Gravity* - Liquid paper 1 - was first presented in Utah Art and Technology Symposium – Arts of the Virtual: Poetic Enquiries in Time, Space, Motion Oct 2004, and will be published in Extensions: The online journal for embodied technologies. Volume 2: Mediated Bodies: Locating corporeality in a Pixelated World – UCLA Department of World Art and Cultures. Liquid paper 1 was further developed during a three-week residency at Waag society for old and new media, Amsterdam in Jan 05 - Connected Program, supported through ANAT (Australian network for art and technology) working in collaboration with media artist Michelle Teran, exploring keyworx software to facilitate a real time interface between voice and image. Most recently presented in Melbourne at Malthouse Theatre in April 2005.

Thoughts, memory, past, present, our spatial perspectives and our perceptions begin to reconfigure and we begin to consider these as larger choreographies, as evolutions of corporeality interconnectivity that move beyond the fixivity of stages of the 20th century 'theatre' the physical site, no longer the only infrastructures that will connect theatres of artists evolving work because and through the technology which is transforming how we as social beings inhabit this world.

These ephemeral networks. These global tides, become part of our sensing, needing processing, modulated surges of power, cascading effects across electronic grids, distributed over networks, - black outs - to frame a single point of view in this global arena.

These Virtual Colosseums
who is the gladiator who are the slaves,
A big brother command SMS your message
Evict that neighbour.

Citation
Hellen Sky is an Australia Council Dance Fund Fellow, and co-founder/co-artistic director of Company in Space (CIS). Her practice has evolved through performance and image making extended through new technologies. In CIS projects she collaborates with others to develop scores, and systems for integrating multiple media and technologies into a total choreography for performative events, linking virtual physical terrains to the general public. Previous work such as *Escape Velocity* (live and telematic movement driven performance), *Data Dancing* (London), *Downloading Downunder* (Amsterdam), *SIGGRAPH* (Florida), *MDDF2* (Monaco), *Digital Now* (Hong Kong), posed the question: Where do flesh, fragile bone, senses and perceptions fit into the new geographies of the late 20th century? More recent work such as *CO 3*, performed in Interact Asia Pacific Multi Media Festival (Melbourne), *Future Physical ICA* (London), and *Arnolfini* (Bristol), explored concepts of presence, and identity within virtual reality. *The Light Room* new media movement opera, premiered at MIFA 01 & 02 (Melbourne Museum), engaged with physical and virtual architectural worlds as metaphor for life bridging the cusp of 20th/21st centuries.

New works in development for 2006 – 7, "Liquid Time - Deep Space" is an installation combining images and simulations from natural worlds, neuroscience and astronomy. Global Drifts a streaming event between UK, Korea and Australia and part of accented body at the Brisbane Festival of Arts. At each of three international sites, civic spaces become animated through audio visual projections to architectures skins of buildings. Their structures become reflective windows to new perspectives of altered bodies.

The Darker Edge of Night* a solo performance again asks questions of time and origin, perceived from the emergent new horizons of mid-21st century. The work integrates, many media, including spoken word, dance and projection conceived as a total choreography to include poetic synthesis of astrological data sets and outcomes of research and collaboration with the Centre for Astrophysics and Supercomputing at Swinburne University, and supported by Arts Victoria Arts Innovation.

I should add that Hellen Sky is Australian. She is very active worldwide and has a visible global influence (in Oceania, Europe and Asia more than in the U.S.A.). Her work combines the latest tele-media technologies, strong theoretical and choreographic craftsmanship, and stunningly beautiful performances.